Our first floor galleries are filled with works that challenge viewers to see color differently. The three painters showcased in Radiant Energy — Gabriele Evertz, Robert Swain, and Sanford Wurmfeld — investigate color sensations in abstract painting. While they utilize different geometric elements (squares, rectangles, stripes or bands, grids, and lines) they all explore how the interaction of color creates physical and emotional responses in the viewer. The large paintings in the exhibition provide viewers with multiple opportunities to experience color in uniquely personal ways. By changing the distances from which the paintings are viewed, and looking for longer and shorter durations, viewers may observe color as a shifting, nearly animated force. A series of smaller works on paper by each artist are also on view in the Robinson Strolling Gallery, providing a more intimate look at their individual practices. All three artists are longtime members of the renowned “Hunter Color School,” a group of painters who taught (or continue to teach) at New York’s Hunter College. Collectively, their careers span over 125 years and counting, as they continue to make work that dazzles the eye.

MINUS SPACE is pleased to present the solo exhibition John Zinsser: Oil Paintings. This is the Brooklyn-based artist’s first solo exhibition at the gallery. For three decades, John Zinsser has produced thoroughly innovative and informed, process-based paintings.]]>

MINUS SPACE is pleased to present the solo exhibition John Zinsser: Oil Paintings. This is the Brooklyn-based artist’s first solo exhibition at the gallery.

For three decades, John Zinsser has produced thoroughly innovative and informed, process-based paintings. A native New Yorker, he came of age as an artist during the late 1980s and early 1990s alongside other now established abstract painters, including Richmond Burton, Gail Fitzgerald, Daniel Levine, Carl Ostendarp, Kate Shepherd, Cary Smith, Dan Walsh, Mary Weatherford, and Stephen Westfall, among others. Zinsser’s material paintings and conceptual drawings often pay homage to, expand upon, and subvert earlier precedents in NYC’s painting history, from Abstraction Expressionism to Radical Painting to Post-Modernism.

For his exhibition at the gallery, Zinsser will present a new set of oil and enamel paintings on stretched canvas, including several ambitious large-format works. His paintings commonly consist of two hues, one applied directly over the other. His color sensibility is precise and individual, arcing toward close-value monochromatic or pulsingly optical in nature. Zinsser begins each painting with a single ground color that is applied smoothly and evenly, occasionally leaving behind translucent striations. Next, and in stark contrast, Zinsser applies a second color often in thick, visceral marks with a heavily-loaded brush, palette knife, squeegee, or other device. His gestures are analytical and assume a wide variety of forms, such as interwoven networks, orthogonal grids, and repeating patterns.

In 2013, Zinsser co-curated the survey exhibition Julian Pretto Gallery here at the gallery, the first show to examine the history and legacy of gallerist Julian Pretto (1945-1995) and his fabled downtown New York galleries, active during the mid-1970s through the mid-1990s. Zinsser was also included in our recent group exhibitions Brant / Brennan / Zinsser in 2016 and Some Artists in 2014. In 2012, Zinsser’s early work was presented in the exhibition Conceptual Abstraction curated by Pepe Karmel and Joachim Pissarro at Hunter College / Times Square Gallery. The exhibition reprised the groundbreaking exhibition of the same name mounted at Sidney Janis Gallery in 1991.

Zinsser’s paintings can be found in museum and private collections internationally, including the Mint Museum (Charlotte, NC), Wadsworth Atheneum (Hartford, CT), Richard Brown Baker Collection, Yale University Art Gallery (New Haven, CT), and Sammlung Goetz, (Munich), as well as in numerous corporate collections.

In addition to his artistic work, Zinsser is a writer, curator, and lecturer. He co-founded the Journal of Contemporary Art in 1988 and has written extensively for publications, such as Art in America, ARTS, Flash Art, ArtNet, and Tema Celeste, among others. Zinsser is Assistant Professor at The New School.

MINUS SPACE is thrilled to present the solo exhibition Sharon Brant: Plenty. This is the Beacon, New York-based artist’s second solo exhibition at the gallery and it will present a suite of recent geometric paintings on linen.

For more than five decades, Sharon Brant has produced conceptually and aesthetically rigorous hard-edged paintings and works on paper. Her work is relentlessly spare, yet materially abundant, often consisting of no more than one or two fundamental shapes articulated in unexpected ways. Complementing her studio work, Brant has also practiced meditation since the late 1980s, which has had an immeasurable impact on the approach she takes in her studio and the work she ultimately produces.

For her solo exhibition Plenty, Brant refines and advances the strategies that have informed her work for decades. Her new paintings present few visual elements – two stacked, horizontal rectangles of differing heights and colors that are centered and aligned at the very top edge of a horizontal, panoramic canvas. The remaining areas of the paintings are left as exposed, woven linen. Brant’s new paintings elicit a sublime sense of emptiness, yet radiate with an ineffable presence and energy. Rendered in mostly subdued, unsaturated colors, such as white, pink, yellow, gray, and silver, her paintings present a striking visual clarity intended to center the mind and achieve emotional tranquility in the viewer.

About her ongoing studio practice, Brant states, “I want to mystify myself. I want to look at my own drawing or painting and say – what is that? – and feel mystified by it. I ask myself as I paint – what is a painting? Optically and psychologically it evokes a feeling as I view it. There may appear an implied illusionism of space, but it is the emotional space I want to enter, a pause from the world.” Regarding her new paintings included in this exhibition, Brant continues, “It’s a picture of the space that artists go to when creating their work. It’s a picture of the source.”

ABOUT THE ARTISTSharon Brant has exhibited her work internationally for the past five decades, including in Europe, Australasia, Mexico, and the United States. Brant mounted the well-received solo exhibition Sideswiped here at the gallery in 2012. She was also included in our recent group exhibitions Brant / Brennan / Zinsser in 2016, and MINUS SPACE en Oaxaca: Panorama de 31 artistas internacionales at the Instituto de Artes Gráficas de Oaxaca Alcalá in Oaxaca, Mexico in 2012. Brant has exhibited her work at museums, including the Whitney Museum of American Art, MoMA PS1, Rochester Museum, Everson Museum of Art, and Aldrich Contemporary Art Museum, among many others.

Brant studied at the Kansas City Art Institute in Missouri from 1962-1965 and moved permanently to New York City in 1966. Her work was included several years later in the Whitney Museum of American Art’s Painting Annual in 1972. She exhibited regularly with OK Harris (solo exhibitions 1970, 1972), A.I.R. Gallery (solo exhibitions 1989, 1991, 1994, 1996), and Elizabeth Moore Fine Art (solo exhibitions 2007, 2011).

In 1968, Brant was one of eight founding members, along with Arthur Hughes, Gary Smith, and Robert Resnick, of MUSEUM, A Project of Living Artists, an artist-run exhibition and meeting space located at 729 Broadway in New York City. MUSEUM was intended as a politically-progressive community center for artists with the goal of supporting “a more alive connection between art and society, without the dissipation of force and quality occurring so frequently in the current art establishment.” MUSEUM’s membership grew to more than 300 individuals before it closed in 1971.

Brant was a member of A.I.R. Gallery from 1989-1996, the first artist-run gallery for women in the United States founded in 1972. She has been a member of American Abstract Artists since 2004. In 2012, Brant was awarded a grant from the Adolph and Esther Gottlieb Foundation. Her work has been reviewed in Artforum, ARTnews, Art International, Arts Magazine, The Brooklyn Rail, Hyperallergic, and The New York Times, among many other publications.

MINUS SPACE is delighted to present a solo exhibition by Brooklyn painter Michael Brennan. This is the artist's third solo exhibition at the gallery.]]>

Michael Brennan, Untitled, 2015
Oil on canvas, 20 x 16 inches, #MB27

May 5 – June 30, 2018
Opening: Saturday, May 5, 6-8pm

MINUS SPACE is delighted to present a solo exhibition by Brooklyn painter Michael Brennan. This is the artist’s third solo exhibition at the gallery.

ABOUT THE ARTIST
Michael Brennan (b.1965, Pine Island, FL; lives Brooklyn, NY) has exhibited his work nationally and internationally for the past two decades, including in the United States, Mexico, Belgium, Germany, Australia, and New Zealand. His work has been reviewed in publications including The New York Times, Art in America, ARTnews, Art New England, The Brooklyn Rail, ArtNet Magazine, and NY Arts. His writings and reviews have been published by The Brooklyn Rail, ArtNet Magazine, The Village Voice, The Architect’s Newspaper, American Abstract Artists, and Archives of American Art/Smithsonian Institution, among others. Brennan’s work is included in the collections of the Baltimore Museum of Art, National Gallery of Art, San Francisco Museum of Modern Art, San Jose Museum of Art, American Express, General Dynamics, Daimler AG, and Sony Corporation. Brennan is Adjunct Assistant Professor at Pratt Institute and has previously taught at the School of Visual Arts, Hunter College, and Cooper Union.

]]>http://www.minusspace.com/2017/12/michael-brennan-2/feed/0Roberta Allen: Some Facts About Fearhttp://www.minusspace.com/2017/11/roberta-allen/
http://www.minusspace.com/2017/11/roberta-allen/#respondWed, 01 Nov 2017 05:00:15 +0000http://www.minusspace.com/?p=19270
MINUS SPACE is pleased to present the exhibition Roberta Allen: Some Facts About Fear. This is the renowned New York City-based artist and writer’s second solo exhibition at the gallery and it will present a new suite of works on paper and one sculptural installation.]]>

MINUS SPACE is pleased to present the exhibition Roberta Allen: Some Facts About Fear. This is the renowned New York City-based artist and writer’s second solo exhibition at the gallery and it will present a new suite of works on paper and one sculptural installation.

For five decades, Roberta Allen has produced conceptually-driven work in a variety of media, including drawing, collage, photography, printmaking, artist books, and installation. Her groundbreaking work produced during the 1970s often merged performance, photography and language, revealing wholly unique forms that hybridized and advanced the discourse of Post-Minimalism, Conceptual, Feminist, and Performance Art.

Allen’s current exhibition will premiere two new, multi-faceted works by the artist: Some Facts About Fear and City of Dying Dreams. Based and expanding upon an earlier body of work she originally produced in 1980, Some Facts About Fear consists of 40 works on paper produced with an array of mixed media materials, including coffee, marker, graphite, and colored pencil. Merging visual image and verbal description, the work combines conceptual diagrams, as well as instances of representational imagery, such as a handgun, glass of wine, butterfly, ice cream sundae, and a couple French kissing, alongside snippets of handwritten, descriptive text. Some Facts About Fear will be installed across all three walls of the gallery in a single horizontal frieze.

In the center of the gallery, Allen will also present a new sculptural installation entitled City of Dying Dreams on an unadorned, low-lying MDF plinth. The work consists of approximately 100 vertical forms, often resembling fanciful architectural towers intricately assembled out of untreated wooden shapes commonly used in children’s model kits and craft projects. The towers vary widely in size and appearance, and are presented densely packed together on the pedestal. Some towers stand tall while others lean precariously against each other or are knocked over entirely and lie on their sides.

ABOUT THE ARTISTRoberta Allen (b. 1945, New York, NY) is a New York City-based visual artist and writer. Allen has travelled widely throughout her career. She lived and worked in Europe, and later travelled in Central and South America and West Africa. Since the late 1960s, Allen has mounted more than two dozen solo exhibitions, including two at MoMA/PS1 and four at the legendary John Weber Gallery (both NYC), where she was represented during the 1970s and early 1980s. She has also mounted one-person exhibitions at Franklin Furnace (NYC); The Athenaeum Music & Arts Library (La Jolla, CA); Stadtische Galerie im Lenbachhaus (Munich, Germany); and Perth Institute of Contemporary Arts (Perth, Australia), among others in the United States and abroad.

In addition to her visual work, Allen is an accomplished writer who has been widely published since the 1980s. This includes her brand new book The Princess of Herself (Pelekinesis, 2017), as well as three short story collections (The Traveling Woman, The Daughter, Certain People), a novel (The Dreaming Girl), a memoir (Amazon Dream), and three writing guides (Fast Fiction, The Playful Way to Serious Writing, The Playful Way to Knowing Yourself). Her stories, memoirs, essays, and articles have been included in more than a dozen anthologies and more than three hundred magazines and journals. Allen has received writing awards from the National Endowment for the Arts, New York State Arts Council, Yaddo, and MacDowell Colony, among others.

We’re delighted to announce the exhibition Gabriele Evertz: Color Relativity at The Lobby Gallery, 499 Park Avenue (at 59th Street), New York City. The exhibition features four recent paintings by the Brooklyn-based artist and will be on view now through January 5, 2018. Gallery hours are Monday-Friday, 8am-6pm.

We would like to thank curators Jay Grimm of Jay Grimm Art Advisory and Lenore Goldberg of Hines for their terrific work on the exhibition and accompanying catalog.

]]>http://www.minusspace.com/2017/09/gabriele-evertz-color-relativity-the-lobby-gallery-499-park-avenue-new-york-ny/feed/0Russell Maltz: Painted / Stacked / Suspendedhttp://www.minusspace.com/2017/09/russell-maltz/
http://www.minusspace.com/2017/09/russell-maltz/#commentsFri, 01 Sep 2017 06:00:13 +0000http://www.minusspace.com/?p=19441
MINUS SPACE is pleased to announce the exhibition Russell Maltz: Painted / Stacked / Suspended. This is the renowned New York City-based artist’s second solo exhibition at the gallery and it will present both new and earlier works by the artist.]]>

MINUS SPACE is pleased to announce the exhibition Russell Maltz: Painted / Stacked / Suspended. This is the renowned New York City-based artist’s second solo exhibition at the gallery and it will present both new and earlier works by the artist.

Russell Maltz produces work in a broad array of media, including painting, sculpture, installation, drawing, and photography. Working both indoors and out, Maltz commonly uses new or repurposed commercial building materials, such as plywood, lumber, metal wall studs, cinder blocks, glass, PVC pipes, and enamel paint, which he gingerly manipulates and sites in response to the dynamics of a given environment. His work often appears raw and industrial upon first impression, a striking contrast against the seemingly casual nature of its arrangement. The works deliberately eliminate any separation between the objects and the space, as well as any distance between the artwork and the viewer.

Maltz’s exhibition Painted / Stacked / Suspended presents a suite of new layered and suspended works from his recent Needle series, as well as a single vintage large-format leaning plywood work (STACK – Safety Yellow, 1985). Additional suspended monochromatic works on multiple shifting plywood panels will be on view in the gallery’s Water Street windows. About his work over the past four decades, Maltz states, “I have an affinity towards the found object. It is clear to me that paint is a material that is applied to another material. It is also clear that my works are not hung on the wall, but rather installed on the wall.” He continues, “I explore the temporal aspects of presence rather than the static construct of the specific physical properties of a site. I have found that if I stay out of my own way and truly follow my value for being present, the work follows.”

There will be an artist talk and book signing for Russell Maltz’s new monograph Painted / Stacked / Suspended published by Kerber Verlag at the gallery on Saturday, October 7, from 3-5pm.

ABOUT THE ARTISTRussell Maltz (b. 1952, Brooklyn, NY; lives New York, NY) is one of the leading reductive artists of his generation. Over the past 40 years, he has exhibited his work in solo and group exhibitions internationally, including in Switzerland, Germany, Denmark, Austria, Sweden, Israel, Mexico, and the United States. The first comprehensive retrospective exhibition of his work was mounted this summer by the Stadtgalerie Saarbrücken in Germany (May 19 – August 27, 2017) and was accompanied by a 230-page book published by Kerber Verlag.

At the gallery Maltz was recently included in the group exhibition On Paper in summer 2016. He also presented new work in the two-person exhibition Plywood, alongside artist Melissa Kretschmer, in 2015, and mounted the solo survey exhibition The Ball Park Series, 1977-2012 in 2012. That same year he produced a major installation entitled Painted/Stacked Oaxaca at the Museo de los Pintores Oaxaqueños, part of our survey exhibition MINUS SPACE en Oaxaca in Mexico.

Maltz’s work is included in many public and private collections worldwide, including The Brooklyn Museum (Brooklyn, NY), Yale University Art Gallery (New Haven, CT), Fogg Art Museum/Harvard University Art Museums (Cambridge, MA), Museum Moderner Kunst (Ottendorf, Germany), and the Gallery of Western Australia (Perth, Australia). His work has been reviewed in publications such as The New York Times, Artforum, Art in America, and Village Voice, among many others.

Maltz serves on the Advisory Board of Critical Practices Inc. (CPI), which supports the emergence and development of new practices within the field of cultural production. CPI was included in the 2014 Whitney Biennial at the Whitney Museum of American Art.

July 8 – August 12, 2017
(then open by appointment until September 4)
Opening: Saturday, July 8, 6-8pm

MINUS SPACE is excited to announce the two-person exhibition Gabriele Evertz / Sanford Wurmfeld: Polychromy. The exhibition will present new works by two revolutionary New York City-based abstract color painters.

For three decades, Gabriele Evertz has examined the “pioneering problem of color” and its transformative effect on the viewer. In her new paintings, she applies color in spontaneously conceived sequences made in real time at the very moment of painting. Her paintings continue to employ and expand upon her singular color system of twelve highly-saturated hues, which she juxtaposes against an extensive array of light to dark gray values and metallic pigments. Evertz’s paintings interweave perfectly plumb, vertical stripes with lines that taper as they reach the top and bottom edges of the canvas, which are nearly impossible to perceive. The resulting paintings present a barrage of visual information that moves color and form in and out of sequence and symmetry causing the eye to move through undulating, pulsating spaces. Color and line appear immaterial, filling the viewer with a tremendous sense of aliveness.

Working across a wide array of media, from abstract painting to installation to filmmaking, Sanford Wurmfeld has exhaustively investigated the subject of color for more than fifty years through its essential qualities of hue, value, and saturation. In his paintings, Wurmfeld mixes and modifies colors empirically by eye without relying on any supporting scientific or mathematical system, which he then overlays onto layered grids of shifting alignment. Wurmfeld believes the perception of color to be a highly subjective experience and he openly embraces differing, individualized responses on the part of the viewer. He states, “We each bring to the paintings some kind of baggage that is far from universal, and so each of these paintings has a different emotional content. I mean emotional as an almost visceral response, rather than a feeling you would name with words. I recognize that it’s there, but I don’t think it’s something that I’m particularly controlling for the viewer. I’m just creating something that creates a kind of visceral response in me.”

For further information about the exhibition and available works, please contact the gallery. Available works can also be viewed on our Artsy page: www.artsy.net/minus-space.

Her work is included in many public collections worldwide, such as The British Museum, Brooklyn Museum, Columbus Museum of Art, Harvard University Art Museum, Hunterdon Museum of Art, Karl Ernst Osthaus Museum, Metropolitan Museum of Art, Museo de Arte Contemporáneo de Buenos Aires, Museum of Modern Art, New Jersey State Museum, Parrish Art Museum, Stiftung für Konstruktive und Konkrete Kunst Zurich, Ulrich Museum of Art, Wilhelm Mack Museum, Whitney Museum of American Art, among others. Her work has been reviewed in publications, such as Artcritical, ArtSlant, Hyperallergic, The New Criterion, Village Voice, and Wall Street Journal.

In addition to her painting practice, Evertz is a Professor of Art, Painting in Hunter College’s Department of Art & Art History, NYC. She is a key protagonist in the renowned Hunter Color School, alongside other color painters, including Sanford Wurmfeld, Robert Swain, Vincent Longo, and Doug Ohlson. Over the past ten years, Evertz has also curated several critically-acclaimed artist retrospectives and surveys of abstract painting at Hunter College, including Visual Sensations: Robert Swain Paintings, 1967-2010; Presentational Painting III; Seeing Red: An International Exhibition of Nonobjective Painting (co-curated with Michael Fehr); Set in Steel: The Sculpture of Antoni Milkowski; and Mac Wells: Light into Being (co-curated with Robert Swain).

In 1968, Wurmfeld was the youngest artist included in the landmark exhibition Art of the Real curated by Eugene Goossen at the Museum of Modern Art, NY. The exhibition traveled for the next two years to the Grand Palais (Paris, France), Kunsthaus (Zurich, Switzerland), and The Tate Gallery (London, England). Wurmfeld’s other museum group exhibitions include the American Academy of Arts and Letters, National Academy Museum (both New York), Dayton Art Museum (Dayton, OH), Long Beach Museum of Art (Long Beach, CA), Karl Ernst Osthaus-Museum (Hagen, Germany), and Espace de l’Art Concret (Mouans-Sartoux, France), among others.

Wurmfeld has lectured and written extensively on the history of color, painting, and abstraction. He has received awards from the John Simon Guggenheim Memorial Foundation, National Endowment for the Arts, City University of New York, and Dartmouth College. Wurmfeld’s work is included in collections worldwide, including the Solomon R. Guggenheim Museum, Metropolitan Museum of Art, Brooklyn Museum (all New York), Karl Ernst Osthaus-Museum, Sprengler Museum (both Germany), and Espace de l’Art Concret (France), among others.

In addition to his artistic work, Wurmfeld taught in the Department of Art at Hunter College from 1967-2012, where he educated and mentored countless generations of artists. Originally invited to join the faculty by sculptor Tony Smith and critic Eugene Goossen, Wurmfeld was Chairman of the department from 1978-2006.

The viewer is confronted with paintings without a canvas, without borders – paintings that she or he can encounter anywhere: on construction sites, in parking lots, in the mountains, or in a Baroque palace such as the Stadtgalerie Saarbrücken.

These are the sites where the artistic interventions of New-York artist Russell Maltz (b. 1952 in Brooklyn) are enacted. Poetic, constructive, and monumental, his works fill both exterior and interior spaces with colour. At times his practice requires heavy equipment – cranes, trailers, machinery – and large surfaces to match, like building sites, facades, and traffic islands. Maltz thus creates works of art that are in constant flux, capturing their transitional states through other media and forms of reflection: drawing, film, and photography. Maltz sees them as the ‘open artwork’, as an expression of collective collaboration, and as a result of cooperation between people of different professions – where everything is produced in a joint process which Maltz at first controls but then leaves to follow the course of its own dynamics.

At its core, Maltz’s art is about the dissolution of the boundaries between sculpture, performance, and painting. Consequently, this kind of art repeatedly shirks off its fixed reference points, and simultaneously grows in the dimensions of space and time as the viewer interacts with it. Through the stimulating merger of painting and sculpture, Maltz successfully creates poetic cadences that resonate precisely through his apparently unpoetic and reductionist use of basic forms and the deliberate application of DayGlo colours.

Russell Maltz is represented in numerous prestigious exhibitions and collections, such as the Atlanta Contemporary Art Center, Atlanta (Georgia), the Ringling School of Art and Design, Sarasota (Florida), the Brooklyn Museum, New York, Yale University Art Gallery, New Haven (Connecticut), the Museum Gegenstandsfreier Kunst, Otterndorf (Germany), the Gallery of Western Australia, Perth, and the Saarlandmuseum, Saarbrücken.

]]>http://www.minusspace.com/2017/05/russell-maltz-painted-stacked-suspended-stadtgalerie-saarbrucken-germany/feed/0Julio Grinblatt: Pasilloshttp://www.minusspace.com/2017/05/julio-grinblatt-corridors-pasillos/
http://www.minusspace.com/2017/05/julio-grinblatt-corridors-pasillos/#respondSat, 06 May 2017 05:53:24 +0000http://www.minusspace.com/?p=19240
MINUS SPACE is pleased to present the solo exhibition Julio Grinblatt: Pasillos. This is the Brooklyn-based artist’s second solo exhibition at the gallery and it will feature a single, horizontal frieze of 40 photographs from his Pasillos series.]]>

MINUS SPACE is pleased to present the solo exhibition Julio Grinblatt: Pasillos. This is the Brooklyn-based artist’s second solo exhibition at the gallery and it will feature a single, horizontal frieze of 40 photographs from his Pasillos series.

Since the mid-1990s, Julio Grinblatt has pursued his ongoing project entitled Uses of Photography. The overall project is guided by the logic of taxonomies. The artist’s Pasillos (corridors) photographs were the first series in the project and they established many of its conceptual parameters. Artist and writer Nicolás Guagnini describes Grinblatt’s pursuit as a “catalog of catalogs…a passionate and enthralling bureaucracy.”

The Pasillos photographs are minute, gelatin silver prints, with the image measuring only 1 1/8 inches high by 1 3/4 inches wide, and centered on a 10 x 8 inch paper mounted on aluminum. They depict stark, vacant hallways devoid of any people in flawless one point perspective. The photographs illuminate the idea of perspective itself, where the receding architectural elements function solely as spatial markers in the mind of the viewer.

Grinblatt’s Pasillos series has been exhibited more than twenty times in solo and group exhibitions throughout the United States, South America, Europe, and Australia. The photographs have been published in several significant anthologies, including 100 Artistas Latinoamericanos and Mapas abiertos: Fotografia Latinoamericana 1991-2002. This exhibition is the first time this seminal series will be presented in New York City.

ABOUT THE ARTISTJulio Grinblatt (b. 1960 in Buenos Aires, Argentina; lives Brooklyn, NY) has exhibited his work in solo and group exhibitions nationally and internationally for the past two decades, including in Argentina, Brazil, Chile, Colombia, Mexico, Spain, Belgium, Finland, Belgium, Italy, and the United States.

In 2012, Grinblatt co-curated the survey exhibition Notations: The John Cage Effect Today at Hunter College Times Square Gallery together with Joachim Pissarro, Bibi Calderaro, and Michelle Yun. The exhibition was discussed in- depth by writer Thomas Crow in Artforum’s Best of 2012 issue. Grinblatt is Adjunct Assistant Professor at Hunter College in New York, and he holds an MFA from Hunter College and BS from the Hebrew University of Jerusalem, Israel.

]]>http://www.minusspace.com/2017/05/julio-grinblatt-corridors-pasillos/feed/0Robert Swain: Color as Colorhttp://www.minusspace.com/2017/03/robert-swain-2/
http://www.minusspace.com/2017/03/robert-swain-2/#commentsSat, 04 Mar 2017 20:28:02 +0000http://www.minusspace.com/?p=19230
MINUS SPACE is delighted to present the exhibition Robert Swain: Color as Color. This is the New York artist’s third solo exhibition at the gallery and it will feature a suite of new large-format color grid paintings.]]>

Installation view of Robert Swain: Color as Color

March 4 – April 29, 2017
Opening: Saturday, March 4, 6-8pm

MINUS SPACE is delighted to present the exhibition Robert Swain: Color as Color. This is the New York artist’s third solo exhibition at the gallery and it will feature a suite of new large-format color grid paintings.

For his exhibition, Swain will present an immersive installation of three new horizontal paintings sized 8 x 12, 8 x 16, and 8 x 20 feet respectively, in which squares of pure color are arranged into grids that are subtly modulated by hue, value, and saturation. The paintings are Swain’s latest investigation into the color system he has developed and refined over the past 50 years. The catalyst of his system is a 30-part color circle. These colors, when combined with the qualities of value (the lightness or darkness of a color) and saturation (the pureness of a color), produce a complement of 4,896 distinct hues, from which Swain conceives his paintings.

Regarding the development of his color system, Swain states, “I became interested in color in the early 1960s. There wasn’t a great deal of written information about it, but I work intuitively. I started to look at color and to make charts and experimental work trying to understand the phenomenology of color. I don’t look at the work as being objective. I simply look at it as a way of trying to get into the subject matter of color and to understand it through experience. And all of this was done visually. It wasn’t done mathematically. It wasn’t done in some kind of progression. It was simply done by painting color charts, looking at them, and deciding in that moment of looking if they were correct or not.”

Swain continues, “Color is a form of energy derived from the electromagnetic spectrum that stimulates our perceptual processes and is instrumental in conveying emotions. In some instances, color is culturally encoded, projecting content through symbolism or associations. The origin for such references is found in the way that the energy (wavelengths), from a particular color, generates feeling; a physiological change produced by the wavelength (energy), of a particular color or colors. The energy, which emanates from green is distinctly different from the wavelengths that define red. In some cultures, pure red is associated with danger. Feelings and attitudes created by the aggressive, radiate energy, which is unique to the red part of the spectrum. When pure red is altered, its emotional attributes change, as in the stability associated with red earth colors, or the whimsical fluctuation produced by pink. In this sense, color transmits feeling(s) through the perception of energy (wavelengths) from the electromagnetic spectrum. Freed from cultural restraints, red can be experienced by itself as a phenomenon, which possesses substantial content. When red is placed next to green, the contrast is heightened, as M. E. Chevreul has observed, and the experience resides in the energy generated by the convergence of these unique spectral wavelengths.”

For further information about the exhibition and available works, please contact the gallery. Available works can also be viewed on our Artsy page: www.artsy.net/minus-space.

ABOUT THE ARTISTRobert Swain is one of the most influential artists of his generation. He was born in Austin, Texas, in 1940, and grew up in Arlington, Virginia. During high school in the late 1950s, he spent his summers in Guatemala and Nicaragua working on the Pan-American Highway. He attended The American University in Washington, DC, where he later received a BA in Fine Art in 1964. During his undergraduate studies, he spent two years in Madrid, Spain, studying at the University of Madrid. In 1964, he moved to Provincetown, Massachusetts, and worked as a studio assistant to the American Modernist painter Karl Knaths. Swain moved to NYC in 1965 where he permanently settled in Manhattan’s Tribeca neighborhood.

In 1966, Swain began his first color-based work followed a year later by his first work utilizing the grid. He participated in his first group exhibition, Light and Line, organized by John Baldwin at the legendary Park Place Gallery in NYC in 1967. That same year he met sculptor Tony Smith who became his close friend and mentor for many years. In 1969, Swain began to develop his own color system, a project that continues until today.

Swain has exhibited his work nationally and internationally for more than 40 years. His paintings have been including in countless landmark exhibitions. He participated in the seminal exhibition Art of the Real curated by Eugene Goossen at the Museum of Modern Art, NYC, in 1968. The exhibition traveled for the next two years to the Grand Palais, Paris, France; Kunsthaus, Zurich, Switzerland; and The Tate Gallery, London, England. Swain exhibited in The Structure of Color curated by Marcia Tucker at the Whitney Museum of American Art, NYC, in 1971.

In 1974, he mounted his first solo museum exhibition at The Everson Art Museum, Syracuse, New York. In 1974, he participated in Color as Language curated by Kynaston McShine and organized by the International Council of the Museum of Modern Art, which traveled throughout Central and South America, including to the Museo de Arte Moderno, Bogota, Colombia; Museo de Arte Moderno de Sao Paulo, Brazil; Museo de Arte Moderno, Rio de Janeiro, Brazil; Museo de Bellas Artes, Caracas, Venezuela; and Museo de Arte Moderno, Mexico City, Mexico. His work was also twice included in the Corcoran Biennial at The Corcoran Gallery of Art in Washington, DC (1969, 1998).

Swain’s work is represented in nearly 300 public and private collections, including the Metropolitan Museum of Art, Corcoran Gallery of Art, Walker Art Center, Albright-Knox Art Gallery, Milwaukee Art Museum, Denver Art Museum, Detroit Institute of Art, Everson Art Museum, Virginia Museum of Fine Arts, and Columbus Gallery of Fine Arts, among others. He has completed major commissions for IBM, Johnson & Johnson, American Republic Insurance Company, Schering Laboratories, Harris Bank, Travenol Laboratories, Tupperware World Headquarters, and the University of Buffalo. He has received awards from the John Simon Guggenheim Memorial Foundation, National Endowment for the Arts (1976, 1989), New York State Council on the Arts, and the City University of New York.

In addition to his artistic work, Swain taught in the Department of Art & Art History at Hunter College from 1968-2014, where he educated and mentored countless generations of artists. For his teaching, he was awarded the Distinguished Teaching of Art Award from the College Art Association in 1998.

In 2010, Swain was the subject of a major 45-year survey exhibition entitled Visual Sensations: The Paintings of Robert Swain curated by Gabriele Evertz at Hunter College/Times Square Gallery, NYC. In 2014, he installed a major exhibition of large paintings entitled The Form of Color at the Santa Monica Museum of Art, Santa Monica, CA, curated by Jeffrey Uslip.

]]>http://www.minusspace.com/2017/03/robert-swain-2/feed/1Ken Weathersby: Time After Timehttp://www.minusspace.com/2017/01/ken-weathersby-time-after-time/
http://www.minusspace.com/2017/01/ken-weathersby-time-after-time/#commentsSun, 08 Jan 2017 04:00:34 +0000http://www.minusspace.com/?p=19280
MINUS SPACE is delighted to present Ken Weathersby: Time After Time, the New York artist’s first solo exhibition at the gallery. The exhibition will feature a suite of new reductive paintings embedded with images taken from art history books.]]>

MINUS SPACE is delighted to present Ken Weathersby: Time After Time, the New York artist’s first solo exhibition at the gallery. The exhibition will feature a suite of new reductive paintings embedded with images taken from art history books.

Ken Weathersby makes abstract paintings that play with and against the conventions of both painting and abstraction. His new paintings combine graphic geometric patterns with representational, printed images of art works cut out of discarded art history books. The images Weathersby employs often depict a sculpture of a single human or animal figure and stem primarily from the periods of ancient Greece, Rome, and medieval Europe.

Specific images are carefully selected and cropped, commonly leaving slivers of text from the originating books still visible. Weathersby then insets the images into recessed rectangular windows, which he cuts and constructs into the paintings’ surfaces. The position of the images within the paintings is carefully considered; images are either immersed into or juxtaposed against finely detailed patterns of repeating squares, circles, and triangles that are both painted in muted colors and drawn in pencil. The specific patterns Weathersby employs loosely reflect the character of the images themselves. Images fall both in and out of alignment with the patterns creating a heightened sense of solitude and timelessness.

About his new paintings, Weathersby states, “The collaged figures are both within the painting and outside of the presumed abstract visual event. They gesture and look, their directional gaze enacting something like a cinematic eye-line match. At other times they form morphological links with the abstract, painted elements while introducing things foreign to it: sculpture, photography, printing, and an earlier time.”

For further information about the exhibition and available works, please contact the gallery. Available works can also be viewed on our Artsy page: www.artsy.net/minus-space.

Weathersby has received numerous awards and residencies, most recently the Individual Artist Painting Fellowship by the Mid-Atlantic Arts Council/NJSCA (2016). His work has been written about in Hyperallergic, the Huffington Post, Brooklyn Magazine, the New American Paintings blog, Painter’s Bread, and elsewhere. Weathersby holds an MFA in Painting from Cranbrook Academy of Art, Bloomfield Hills, MI, and a BFA in Painting and Drawing from University of Southern Mississippi, Hattiesburg, MS.

]]>http://www.minusspace.com/2017/01/ken-weathersby-time-after-time/feed/2Jan van der Ploeg: Lyricshttp://www.minusspace.com/2016/11/janvanderploeg-lyrics/
http://www.minusspace.com/2016/11/janvanderploeg-lyrics/#commentsSat, 05 Nov 2016 15:14:47 +0000http://www.minusspace.com/?p=18759
MINUS SPACE is delighted to present Jan van der Ploeg: Lyrics. This is the Amsterdam-based artist’s third solo exhibition at the gallery and it will feature a new large wall painting alongside a suite of new, small-format acrylic paintings on linen.]]>

MINUS SPACE is delighted to present Jan van der Ploeg: Lyrics. This is the Amsterdam-based artist’s third solo exhibition at the gallery and it will feature a new large wall painting alongside a suite of new, small-format acrylic paintings on linen.

Over the past 25 years, Dutch artist Jan van der Ploeg has produced more than four hundred site-sensitive wall paintings in museum, gallery, corporate, public, and private spaces around the globe. Advancing ideas regarding the fusion of image, plane, and architecture first espoused by the De Stijl group nearly a century ago, van der Ploeg conceives his large-scale murals, whether temporary or permanent, in direct response to the particulars of a given architectural space or condition. His wall paintings usually embrace and activate the full height and width of a given wall. Individual works can be centered on a single wall, wrap around several walls filling an entire room, span multiple rooms or adjacent floors of a building, scale up and down stairwells, and more.

Van der Ploeg’s paintings are characterized by their use of bold geometric shapes and patterns in vibrant, singular color arrangements, which are informed by a diverse array of art historical sources ranging from Italian Renaissance architecture to Maori weaving to Islamic tile design. In his work, he employs exclusively hard-edged, solid-colored shapes, which may be orthogonal or curvilinear, meet at right or oblique angles, or run parallel with or perpendicular to the floor and ceiling. His palette is dynamic and saturated, but he rarely employs the pure primary colors red, yellow, and blue. A wall painting may consist simply of a single color applied against the neutral white ground of a gallery wall, or may employ two or more distinct colors used in concert. His immersive wall works, usually large in scale, recalibrate our perception of a given space and can range from highly graphic to spatially confounding, overwhelming both the eyes visually and the body physically.

About van der Ploeg’s work, artist and curator Michelle Grabner writes, “…his paintings expand the best of contemporary non-objective work in their shear boldness and fearless scope, the entirety of the painting’s dynamics are always greater than the architecture that supports them…The impact of van der Ploeg’s paintings is located at the intersection of sensation and thought, between the work’s graphic visual impact and its conceptual underpinnings. His paintings are welcomingly antagonistic to narrative. Signifying instead a powerful commitment to the commingling of the familiar, new and strange potentials of color and form.”

Van der Ploeg mounted solo exhibitions at the gallery in 2006 – our inaugural exhibition – and again in 2010. He also realized large-scale wall paintings for our survey exhibitions MINUS SPACE curated by Phong Bui at MoMA PS1 in 2008-2009 and MINUS SPACE en Oaxaca at the Instituto de Artes Gráficas de Oaxaca Juárez in Oaxaca, Mexico in 2012.

For further information about the exhibition and available works, please contact the gallery. Available works can also be viewed on our Artsy page.

Van der Ploeg’s work is included in the collections of the Stedelijk Museum (Amsterdam), Museum Boijmans van Beuningen (Rotterdam), Gemeentemuseum (The Hague), Rijksmuseum Twente (Enschede), and Daimler Contemporary Art Collection (Berlin), among others. He studied at the Rijksakademie van Beeldende Kunsten, Gerrit Rietveld Academie (both Amsterdam), and the Croydon College of Art (London).

In addition to his artistic work, van der Ploeg founded and directs PS, a highly regarded exhibition venue and program based in Amsterdam. PS aims to provide a platform for the work of upcoming international artists in an environment that exists between the conventions of an artist-run space and a commercial gallery.

Guest Spot @ The Reinstitute presents, Vincent Como: No Hope. Not Now, Not Ever. Join us for a special Opening Reception on Saturday, October 29, 2016 7pm-10pm. Accompanying the exhibition will be the release of the publication Hail Thee Holy Darkness, text by James Harris.

Vincent Como: No Hope. Not Now, Not Ever explores the concept of the expendable art object, as it relates to over-culturalism and the current global scarcity crisis. Como’s exhibition subverts the reverence for art history through the use of common materials, repetition, simulation, and the often overlooked nuances of a world rendered whole by its own multiplicity.

The multiple, a system of synthetic bifurcation, has contributed to the historic decline and eventual rise of scarcity as a phenomenon by changing the mechanicalism of the familiar. Familiarity as an aesthetic value construct is predicated on the idea that repetitivere-occurrence of something prior should result in its success; the re-occurrence is both the synthetic cause and affect. Vincent Como’s work explores an idée fixe with a re-cultism that is dominated by an Institutional compass grounded in abundance. The majority of critique falls on the market-determination of the sublime, which shifts the nostalgic perspective to an ahistorical curation of trends and to a civilization void of scarcity economics.

ABOUT THE ARTISTVincent Como (b. 1975, Kittanning, PA) has exhibited his work throughout the United States and abroad, including in Mexico, England, and Vienna. Recent solo and group exhibition include Art in General, BRIC Rotunda Gallery, Momenta (all NYC); Samson Projects (Boston, MA); Illinois State Museum (Lockport, IL); Western Exhibitions, University of Illinois (both Chicago, IL); Evanston Art Center (Evanston, IL); SPACES (Cleveland, OH); Urban Institute for Contemporary Arts (Grand Rapids, MI); Art Museum of the University of Memphis (Memphis, TN); and House Gallery (Salt Lake City, UT), among many others.

Como’s work has been discussed in publications, such as The Wall Street Journal, ArtSlant, Progress Report, WagMag, The Boston Phoenix, Chicago Tribune, Chicago Journal, and Salt Lake Tribune, among others. He holds a BFA in Drawing from the Cleveland Institute of Art (Cleveland, OH).

Vincent Como is an artist living in Brooklyn, NY. The focus of his practice is centered on Black as both Subject and Material. Como is represented by MINUS SPACE Gallery in Brooklyn, NY and is a founding member of TSA New York an artist run exhibition space also in Brooklyn.

We are thrilled to announce gallery artist Roberta Allen’s new solo exhibition Thinking About Thoughts at the The Athenaeum Music & Arts Library in La Jolla, California. The exhibition opens this Friday night, September 23, 6:30-8:30pm.

For further information and available works by about Roberta Allen, please contact us.

EXHIBITION INFO
Roberta Allen will present a series of drawings and a selection of artist’s books in the Athenaeum’s Rotunda Gallery.

Language has been the inspiration for most of Allen’s conceptual art for many years. Her work, exhibited internationally, is in the collection of The Metropolitan Museum of Art as well as many other public and private collections. The Athenaeum holds the complete collection of Allen’s artist’s books.

Allen is a short story writer, novelist and memoirist, as well as a conceptual artist. She has been a Tennessee Williams Fellow in Fiction. For 18 years, she taught creative writing at The New School. She has also taught at Columbia University and in private workshops for 25 years and continues to do so.

ABOUT THE ARTISTRoberta Allen (b. 1945, New York, NY) is a New York-based visual artist and writer. Allen has travelled widely throughout her career. She lived and worked in Europe, and later travelled in Central and South America and West Africa. Since the late 1960s, Allen has mounted more than two dozen solo exhibitions, including two at MoMA/PS1 and four at the legendary John Weber Gallery (both NYC), where she was represented during the 1970s and early 1980s. She has also mounted one-person exhibitions at Franklin Furnace, Hal Bromm Gallery (both NYC); Stadtische Galerie im Lenbachhaus (Munich, Germany); and Perth Institute of Contemporary Arts (Perth, Australia), among others in the United States and abroad.

In addition to her visual work, Allen is an accomplished writer who has been widely published since the 1980s. This includes three short story collections, (The Traveling Woman, The Daughter, Certain People), a novel (The Dreaming Girl), a memoir (Amazon Dream), and three writing guides (Fast Fiction, The Playful Way to Serious Writing, The Playful Way to Knowing Yourself). Her short stories, memoirs, essays, and articles have been included in more than a dozen anthologies and more than a hundred magazines and journals. Allen has received writing awards from the National Endowment for the Arts, New York State Arts Council, Yaddo, and MacDowell Colony, among others.

]]>http://www.minusspace.com/2016/09/roberta-allen-thinking-about-thought-the-athenaeum-music-arts-library-la-jolla-ca/feed/0Leslie Roberts: FYEOhttp://www.minusspace.com/2016/09/leslie-roberts/
http://www.minusspace.com/2016/09/leslie-roberts/#respondSat, 10 Sep 2016 05:00:33 +0000http://www.minusspace.com/?p=18881
MINUS SPACE is excited to present Leslie Roberts: FYEO, the Brooklyn-based artist’s first solo exhibition of new paintings at the gallery. Roberts' works translate found, quotidian language into abstract, patterned structures, which she refers to as "illuminated manuscripts of the everyday."]]>

MINUS SPACE is excited to present Leslie Roberts: FYEO, the Brooklyn-based artist’s first solo exhibition of new paintings at the gallery. Roberts’ works translate found, quotidian language into abstract, patterned structures, which she refers to as “illuminated manuscripts of the everyday.”

Leslie Roberts’ paintings present a hybrid of handwritten words and geometric color pattern that interpret the relentless flow of information in which we find ourselves immersed on a daily basis. Roberts is an acute observer of the world and she takes copious notes about her findings, which she then translates and transcribes into columns of handwritten words and phrases in her paintings. Individual words stem from fragmented, divergent sources such as instructions, guarantees, regulations, warnings, receipts, end user licensing agreements, junk mail, subways ads, road signs, street names, tree species, and much more.

Working in acrylic gouache, ink, and pencil on slender, whitewashed panels, Roberts methodically, yet intuitively, assigns specific colors and forms to individual words. The words are then mapped out as lines and shapes onto gridded X and Y axes forming lush, wavering geometric configurations. In some paintings, the text is coded in multiple ways, resulting in layered systems yielding “crystalline structures, linear networks, and other abstract dialects.”

Roberts intends her paintings to be both seen and read with the encoded texts functioning as a deeply resonant fine print. For Roberts, the paintings are “collections of ambient language used to derive an intensely visual abstract vernacular.”

ABOUT THE ARTIST
Leslie Roberts (b. 1957, Goldsboro, North Carolina; lives Brooklyn, New York) has exhibited her work in solo and group exhibitions throughout the United States for the past 25 years, including at Art in General, Brooklyn Museum, Bruce High Quality Foundation, Dam Stuhltrager Gallery, Davidson Contemporary, Eyewash Gallery, Hallwalls, Holiday Gallery, Janet Kurnatowski Gallery, Lyons Wier Gallery, Pierogi Gallery, PPOW Gallery, Rotunda Gallery, Sideshow Gallery, Swiss Institute, Weatherspoon Art Gallery, and Yerba Buena Center for the Arts, among many others.

Roberts has received awards from Ragdale and Virginia Center for the Creative Arts, where many of the works in this exhibition were conceived and produced, as well as Pratt Institute, Yaddo, Yale, and Skowhegan School of Painting & Sculpture. Her work has been discussed in publications such as Artforum, The Brooklyn Rail, dArt International, NY Arts Magazine, Sculpture Magazine, and TimeOut London. Roberts is a professor at Pratt Institute, where she teaches Foundation Light, Color and Design. She holds an MFA from Queens College and a BA from Yale University.

For further information about the exhibition and available works, please contact the gallery. Available works can also be viewed on our Artsy page.

The Trustees of the Saint-Gaudens Memorial are proud to present the work of artist Lynne Harlow in her exhibition Song, showing at the Saint-Gaudens Picture Gallery.

Harlow creates work by exploring the process of reduction. Her pieces pose the question, “how little is enough” and in doing so, find the point at which the most is given to the viewer with the least visual and physical information. Harlow will be showing two major pieces in Song, both of which offer us simple but poignant worlds, and invite us to participate and reflect.

Lynne Harlow has exhibited widely, both across the U.S. and internationally, and her work has been reviewed by such publications as Artforum, the New York Times, and the Boston Globe, among others. She was the recipient of the Robert and Margaret McColl Johnson Fellowship of the Rhode Island Foundation in 2011, and was a visiting artist at the Chinati Foundation in Marfa, Texas in 2002. Her work is part of numerous public collections. Harlow earned her MFA from Hunter College, and is now based in Providence, Rhode Island.

The Picture Gallery is located 139 Saint-Gaudens Road in Cornish, NH.

]]>http://www.minusspace.com/2016/08/lynne-harlow-song-saint-gaudens-memorial-cornish-nh/feed/0On Paperhttp://www.minusspace.com/2016/07/on-paper/
http://www.minusspace.com/2016/07/on-paper/#respondSat, 09 Jul 2016 05:00:19 +0000http://www.minusspace.com/?p=18858
MINUS SPACE is delighted to present the summer group exhibition On Paper, highlighting several generations of artists innovating at the intersection of reductive abstraction and paper. The exhibition will feature a single work by seventeen established artists from the United States, Germany, New Zealand, and United Kingdom.]]>

July 9 – August 13, 2016
(then by appointment only from August 14 – September 3)
Opening: Saturday, July 9, 6-9pm

MINUS SPACE is delighted to present the summer group exhibition On Paper, highlighting several generations of artists innovating at the intersection of reductive abstraction and paper. The exhibition will feature a single work by seventeen established artists from the United States, Germany, New Zealand, and United Kingdom.

On Paper will present spare, holistic works depicting geometric shapes, patterns, color systems, and diagrams made from a diverse range of media, including ink, pencil, colored pencil, pastel, watercolor, acrylic, transfer, screenprint, offset print, and photogram on a wide array of hand- and machine-made paper supports.

For further information and available works, please contact the gallery.

SUPPORT
We are grateful to the galleries Bartha Contemporary and Galerie Lelong, as well as the estates of artists Rudolf de Crignis and James Howell, for their generous assistance with this exhibition.

MINUS SPACE is delighted to present Brant / Brennan / Zinsser. The exhibition will feature new visceral, yet reductive paintings by the three esteemed New York-based artists Sharon Brant, Michael Brennan, and John Zinsser.

Sharon Brant has produced conceptually and aesthetically rigorous abstract paintings and drawings for more than four decades that commonly blur the lines between media. Her new paintings continue her recent shift away from the hard-edged geometry that ruled her earlier work and present a single, attenuated rectangle with irregular sides, which rests at the bottom edge of the canvas. Rendered primarily in various reds and blacks on white grounds, Brant’s paintings employ a remarkably narrow palette to investigate an animated, fundamental form through a wide array of cumulative marks and subtle gestures. The works allude at once to geometry, architecture, and landscape.

Michael Brennan’s new, petite-format paintings merge geometric and gestural painting. Although monochromatic upon first impression, they employ a subtle array of blacks, grays, and whites, which Brennan tints with discreet amounts of other hues. Color is a core concern for Brennan and his paintings reflect his deep interest in abstraction, monochrome painting, historical photography, and early film. His work possesses a sense of aesthetic economy and he commonly employs no more than two layers of paint in completed works. Painted with a palette knife during a single session in the studio, the paintings juxtapose a single, highly finessed field of color against a solid, white band commonly along the bottom or outside edges of the work.

John Zinsser’s new conceptual paintings are distinguished by their visual clarity and lush materiality. Seemingly spontaneous in appearance, the thickly impastoed surfaces of his paintings are produced strategically. Zinsser employs a broad vocabulary of marks and gestures achieved by brush, palette knife, block printing, and other methods. Merging a wide array of different materials, such as oil, enamel, and spray paint, his color sensibility is resolutely experimental and oscillates between close-value, nearly monochromatic works to luminous, retinally-charged paintings that appear to vibrate off their surfaces.

SHARON BRANTSharon Brant (lives Beacon, NY) has exhibited her work internationally for the past four decades, including in Europe, Australasia, Mexico, and the United States. Her recent museum exhibitions include MoMA PS1, Rochester Museum, Everson Museum of Art, Aldrich Contemporary Art Museum, and Instituto de Artes Graficas de Oaxaca (Mexico). Brant moved permanently to New York City in 1966 and her work was included several years later in the Whitney Museum of American Art’s Painting Annual in 1972. She exhibited regularly with OK Harris between 1969-1972, A.I.R. Gallery between 1988-1994, and Margaret Thatcher Projects between 1999-2003. In 1968, Brant was one of eight founding members of MUSEUM, A Project of Living Artists, an artist-run exhibition and meeting space located at 729 Broadway in New York City, which was intended as a politically-progressive community center for artists with the goal of supporting “a more alive connection between art and society.” Brant is a member of American Abstract Artists and her work has been reviewed in Artforum, The New York Times, ARTnews, Art International, Arts Magazine, and The Brooklyn Rail, among others.

MICHAEL BRENNANMichael Brennan (b.1965, Pine Island, FL; lives Brooklyn, NY) has exhibited his work nationally and internationally for the past two decades, including in the United States, Mexico, Belgium, Germany, Australia, and New Zealand. His work has been reviewed in publications including The New York Times, Art in America, ARTnews, Art New England, The Brooklyn Rail, ArtNet Magazine, and NY Arts. His writings and reviews have been published by The Brooklyn Rail, ArtNet Magazine, The Village Voice, The Architect’s Newspaper, American Abstract Artists, and Archives of American Art/Smithsonian Institution, among others. Brennan’s work is included in the collections of the Baltimore Museum of Art, National Gallery of Art, San Francisco Museum of Modern Art, San Jose Museum of Art, American Express, General Dynamics, Daimler AG, and Sony Corporation. Brennan is Adjunct Assistant Professor at Pratt Institute and has previously taught at the School of Visual Arts, Hunter College, and Cooper Union.

JOHN ZINSSERJohn Zinsser (b.1961, New York, NY; lives Brooklyn, NY) has exhibited his work internationally since the late 1980s, including solo and group exhibitions throughout United States, Europe and Asia. He recently mounted solo exhibitions at Peter Blake Gallery (Laguna Beach, CA), Philip Slein Gallery (St. Louis, MO), Graham Gallery (New York, NY), and Kunstgalerie Bonn (Germany). His work can be found in museum and private collections internationally, including the Mint Museum (Charlotte, NC), Wadsworth Atheneum (Hartford, CT), Richard Brown Baker Collection, Yale University Art Gallery (New Haven, CT), and Sammlung Goetz, (Munich), as well as in numerous corporate collections. In addition to his artistic work, Zinsser is a writer, curator, and lecturer. He co-founded the Journal of Contemporary Art in 1988 and has written extensively for publications, such as Art in America, ARTS, Flash Art, ArtNet, and Tema Celeste, among others. Zinsser is Assistant Professor at The New School.